British Cinematographer

21/08/2025

“The camera captures whatever colours you are shooting, it has a great colour palette, good contrast and is also very realistic and excellent for skin tones. If you want to do something subtle and elegant it is a perfect camera.”

Roberto De Angelis on shooting The Perfect Couple on a Sony VENICE with fellow series DP Shane Hurlbut ASC.

Read the full interview in our free-to-download Sony Creators guide at https://pro.sony/en_GB/cinematography/creators-magazine-issue-2

20/08/2025

“We all had to adapt. It was part of the script—the journey wasn’t just for the characters, it was for the whole crew. We travelled down from Bristol, shooting more or less in order. Everyone was part of that experience.”

Hélène Louvart AFC on shooting The Salt Path.

Read more at https://britishcinematographer.co.uk/helene-louvart-afc-the-salt-path/

19/08/2025

“I shot in 8K raw mode to give as much data as possible and allow editorial to punch into and recompose shots. If I kept the performers centre frame, we could slide around the frame once we built the background. It gave us complete flexibility in editorial. I shot at 1600 ISO to create more depth of field because I knew the VENICE sensor could handle it and it helps give post an easier time pulling mattes.”

Scott Cunningham ASC on shooting Rebound with the Sony VENICE.

Read the full interview in our free-to-download Sony Creators guide at https://pro.sony/en_GB/cinematography/creators-magazine-issue-2

18/08/2025

“Some cinematographers meet their director early on. It’s taken me 17 years to meet Elisabeth. We think the same way — we’re creative soul mates.”

DP Nicola Daley BSC ACS about the special collaboration formed with director-actor-executive producer Elisabeth Moss while shooting The Handmaid’s Tale.

Read the full Two Shot interview at https://britishcinematographer.co.uk/nicola-daley-bsc-acs-and-elisabeth-moss/

16/08/2025

“Sony VENICE was definitely the only platform where the variable ISO from 500 to 2500 would give me the right level of colour science at the lower end of the curve in an environment where I’m shooting at night using a single light source in the sky.”

Jamie D Ramsay BSC SASC on using the VENICE to shoot BMW’s Gran Coupé launch commercial.

Read the full interview in our free-to-download Sony Creators guide at https://pro.sony/en_GB/cinematography/creators-magazine-issue-2

14/08/2025

“I walked out of the cinema feeling slightly different. I was shattered. For the first time, I had a sense of the power of cinema beyond entertainment.”

Dion Beebe ASC ACS on watching Ingmar Bergman’s Cries and Whispers at age 11.

Read the full Visionary feature at https://britishcinematographer.co.uk/dion-beebe-asc-acs/

13/08/2025

Locarno Film Festival announces 2025 winners

The Locarno Film Festival’s Open Doors initiative has announced the winners of its 2025 co-production platform and talent development programme

12/08/2025

“The only significant change on eight was the transition from the Sony VENICE to the Sony VENICE 2, primarily driven by the underwater sequence as it’s an 8K camera, which required greater detail, as well as the IMAX format…The Sony Venice performs impressively in water environments.”

Fraser Taggart on shooting Mission: Impossible – The Final Reckoning with the VENICE 2.

Read the full interview in our free-to-download Sony Creators guide at https://pro.sony/en_GB/cinematography/creators-magazine-issue-2

📸: Antonio Olmos / Gareth Gatrell

11/08/2025

“One of the most cherished experiences of my time at the NFTS was attending Billy Williams’ legendary masterclasses. The knowledge, insight, and wisdom he shared were truly invaluable—gifts that continue to guide and inspire me to this day. I feel deeply privileged to have had Billy as a foundational and formative influence on my journey as a cinematographer. His impact on my life and work is lasting and profound.”

Nanu Segal BSC

Read more tributes and an extract from the BSC Heritage Series at https://britishcinematographer.co.uk/bsc-heritage-series-billy-williams-obe-bsc-1929-2025/

08/08/2025

There is no such thing as one size fits all when it comes to creating a visual approach for film making.

That is quite an obvious thing to say but with so many demands on a DP’s time these days in pre-production from budgeting issues, time restraints and even environmental and corporate policy how do you make sure to give the creative process enough space to do it justice? Whilst they can’t help with everything, what has been built at No Drama and One Stop Films is designed to give the DP maximum creative freedom even under time pressure to choose the best camera and lens options to tell a story the way they want to.

Learn more at https://britishcinematographer.co.uk/supplement_posts/creative-control-begins-with-choice/

07/08/2025

“It looked clean on the monitor, so when deciding on the look for A Complete Unknown, I tested the Sony VENICE 2. It’s the first time I’ve shot a feature on it and although it’s native 3200 ASA, I wanted to try shooting at 6400 and 12800 with the lenses and lighting I planned to use. Its sensitivity to light impressed me and when I projected it, I didn’t see any problematic noise, even at 12800. It captured the texture and detail of night scenes beautifully.”

Phedon Papamichael ASC GSC GCA on shooting A Complete Unknown with the Sony VENICE 2.

Read the full interview in our free-to-download Sony Creators guide at https://pro.sony/en_GB/cinematography/creators-magazine-issue-2